 So, my name is Ada, I'm an nomadic artist and theatre maker from St. Petersburg, Russia. I direct and initiate social-engaged theatre projects in different countries and between different countries. And my favorite part of this work is to hear questions and to ask questions. So, and most of them are really awkward, strange, clumsy questions, because they come from the outsider, they do not fit into the context and that's why they bring a new perspective to it. So for example, when I lived in London, I heard a lot from art people there, a word risk, and the artist should be risk-taking. And for me, it was a really strange thing because I thought, what does exactly that mean? It could mean different things in different countries, for example in the UK, it could be a risk of somebody from the audience choking on a cookie if you give them during the performance. Or in Russia or Poland there could be some far-right activists or police coming during the performance to interrupt it, another risk. So that's how the idea of my risk lab performance was born, to explore what risk can mean in different countries. So I invited two different artists from countries like Syria or India to join me online during live performance in London and through our dialogue and our critical questions to investigate this real idea of risk and also invite the audience to participate in our discussion, to make decisions, to ask other questions and to be engaged in this more deeper understanding of what risk actually means. In another project, I started with another question, so the locker room talk started with a question, what if we explore male sexist texts through female bodies? That's how the red swimwear jumped into the game. So I brought this game, this play, a locker room talk from Scotland to Russia, and I was asked several times by local people, why do you bring a Scottish play to Russia? Don't you just use a local material? Is it not a little bit too colonial to bring something, some play from west to Russia? And then I thought, okay, if we would have at least one pro-feminist playwright in Russia who would be interested to write a play about sexist language, I would definitely would use that, but, you know, so we use whatever we have. And with the choreographer Daria Yurichuk and the dramaturg Olga Tarakanova and female team only, we try to explore this sexist language for our bodies and our feelings, and trying to create a different, effective knowledge about gender. Through our rehearsals, we felt more emancipated and even during the performance to allow our members made the real coming out on stage about their transgender transition, which put even more questions about what gender is. And our audience was invited in some sort of performative conference where we shared our artistic research about this topic through the dances, through verbatim rep, through different kinds of medium, also forum theater. We invited the audience to participate and engage with what we can do about everyday sexist language. In the end, we invite all of the audience to come on stage and to share their emotions in one of the tables and to ask more questions in another. And this is my favorite part, as I said, questions and exchange of the questions. So what kind of questions will I bring with me to Russia from America, from my art residency? Would it be a question that I got from the Russian political refugee that I met in the detention center in the US-Mexican border? He asked me if I can be his sponsor, so he could not be there at the detention center and wait for the trial in the city, not in the detention center. Or would it be maybe the question of taxi driver? Would he ask me if I'm an artist from Russia, if I'm still under surveillance when I'm here? Or would it be a question of my American host, Farah Karapitian, who has a question if she as a female artist in America presents her a work, which is in the big signs. The review says it is an ambitious work, and if it's the same size of work would be presented by the male American artist, it would be called monumental. So maybe we have more questions in common than we think when we work in trans-cultural collaborations. Thank you.